Creating Multilevel Interaction Spaces
Undergraduate Design Studio
Instructor: IL Kim
Second Life
Reusing
Graduate
Instructor: Laurie Hawkinson TA Steven Lin
Visualization of Change
Undergraduate Design Studio
Instructor: IL Kim
Mountain Aven House
Passive Cooling with Water
Graduate Design Studio
Instructor: Philip Rham, Mariami Maghlakelidze
Cultural Pathfinding Through an Object
Graduate Elective: Subject Object
Instructor: Suchi Reddy
Design Studio
Instructor: IL Kim
Year: Spring 23’
Location: Tokyo, Japan
Description
This project aims to enhance social interactions among residents through innovative multi-level courtyards. These interconnected spaces, spread across various levels and linked by exterior stairs, encourage movement and community engagement. Each courtyard is part of a larger circuit that spans the entire complex, facilitating frequent and spontaneous interactions among neighbors. Additionally, the integration of commercial spaces on the ground floor, combined with strategically placed skylights, creates a vibrant, inclusive environment that bridges residential and public areas.
Deliang Chen
Located at an intersection in Tokyo’s Aoyama Ward, Japan, this site epitomizes a dynamic blend of commercial and residential uses. Adjacent to the site stands the iconic Nezu Museum designed by Kengo Kuma. To the northwest unfolds a vibrant shopping district renowned for its luxury brands, including the distinctive Prada building. Moving southward reveals a tranquil residential area. The site itself spans wider towards the west, gradually tapering towards the east. Surrounding structures typically rise to approximately five stories, punctuated by occasional exceptions. Flanking the site are two smaller roads to the east(fig 1.5) and west(fig 1.4), enhancing accessibility and urban connectivity.
Chen
The first study model(fig 1.7) was created to explore the placement of courtyard spaces by overlaying a grid onto the site. This methodical approach helped in conceptualizing where courtyards could be situated within the site’s framework.
In the second study model(fig 1.8), the design moved beyond the constraints of the grid. Courtyards were viewed not just as flat spaces but as dynamic, three-dimensional volumes. These volumes were envisioned to vary in height and shape, allowing them to be stretched and interconnected. This approach aimed to create a fluid and interconnected network of courtyards that could enhance spatial diversity and visual interest.
The third study model(1.9) focused on integrating these courtyard volumes with different functional elements of the project. This phase sought to analyze how these spaces would interact with various programmatic requirements and identify any synergies or conflicts that might arise.
On the next page, the design concept(fig 1.10) is visually represented. This model illustrates how these volumetric courtyard spaces would
First Study Model
Second Study Model
Third Study Model
Conceptual
1.11 Conceptual Spatial Model Front View
1.12 Conceptual Spatial Model Top View
This project enhances social interactions among residents through strategically placed multi-level courtyards. Unlike traditional courtyards, these are interconnected across multiple levels via exterior stairs, encouraging residents to move through and utilize these spaces. This design fosters inclusive relationships among neighbors. Additionally, the ground floor, dedicated to commercial spaces, integrates skylights that connect to the courtyards and main hallways above. Opaque glass allows light to filter into the second floor while casting shadows onto the ground floor, providing glimpses of residential life above to shoppers. This design promotes a sense of community without compromising residents’ privacy.
1.23
Chen
Advanced Architectural Design Studio
Instructor: Laurie Hawkinson TA Steven Lin
Year: Spring 24’
Location: South Brooklyn Marine Terminal, New York
Description
Confronting the escalating waste crisis in the renewable energy sector, our team embarked on a transformative project to repurpose wind turbine blades, a key challenge given their notoriously difficult-to-recycle composite structure. Working in pairs, we tackled the massive site currently being converted into a wind turbine parts assembly facility, with the brief to envision its future use once the assembly operations move on. Our focus centered on the pressing issue of blade waste. With projections indicating that over 43 million tons of turbine blade waste will accumulate by 2050, we recognized the urgent need for sustainable solutions. Our project spans from 2024 to 2100, reimagining the fate of these discarded giants. In three innovative phases, we turned these blades into functional and aesthetic features, from architectural elements to flood barriers, and vibrant market spaces to serene parklands. Each phase of our design underscores our commitment to sustainability and showcases how these imposing structures can be repurposed to create a dynamic hub of community engagement and environmental stewardship.
The South Brooklyn Marine Terminal, located at 2nd Ave, Brooklyn, NY 11232, is a sprawling industrial and commercial site with a footprint equivalent to 37 football fields. Nearby, visitors can explore stores, maker spaces, and industry hubs like Industry City. Chain stores, car manufacturers, and Costco add to the commercial vibrancy. Sports enthusiasts will appreciate the Brooklyn Nets’ practice center, located within the terminal’s vicinity. Access is convenient via the 35th Street subway entrance. Future developments include Empire Wind’s offshore wind turbine project, which will vacate the site in 2035, leaving behind an operations building and substation for at least the next 50 years, while the staging area will be cleared after a decade. The South Brooklyn Marine Terminal stands as a dynamic nexus of industry, commerce, and community infrastructure.
The South Brooklyn Marine Terminal is undergoing a comprehensive transformation with our studio’s projects at its core. Positioned prominently as the gateway to the site, our installation sets the tone for visitors(1). Surrounding it are innovative developments like a state-of-the-art ferry terminal improving connectivity(4), an elevated walkway offering panoramic views(6), and a museum exploring sea level dynamics(5). A marine research center(3) and a flood-resistant public library add depth, emphasizing innovation, education, and community resilience(2). Together, these projects create a dynamic and resilient environment at the terminal, showcasing a unified vision for its future.
1 BLADE 5 ELEPHANTS 1 MILLION+ BLADES
35 TONS 7 TONS
43 MILLION TONS
331,000 TONS
130 EMPIRE STATE BUILDINGS
TONS
MILLION ELEPHANTS
Cycle
Recycling turbine blades presents significant challenges due to their complex construction and materials. Turbine blades are typically made from composite materials, such as fiberglass and carbon fiber, which provide the necessary strength and durability to withstand extreme operational stresses. However, these composites are difficult to break down and separate for recycling. Unlike metals, which can be melted and reformed, the intricate layering and bonding in composites resist easy processing. Additionally, the large size of the blades complicates transportation and handling for recycling facilities. Current recycling methods are costly and energy-intensive, often involving shredding and incineration, which are not always environmentally friendly or efficient. These factors contribute to the difficulty of sustainably managing the end-of-life disposal of turbine blades.
LAMINATE LAYER
FILLER MATERIAL
INTERNAL REINFORCEMENT
UPPER SURFACE SANDWICH SHELL
LOWER SURFACE SANDWICH SHELL
2.7 Full Blade Dimensions 400ft
Highlighting the inherent limitations of turbine blades, our design journey unfolded across three distinct phases. In Phase 1(fig 2.10), we utilized full and halved blades to create coverings, inviting visitors underneath the blades. Phase 2(fig 2.11) explored the potential of disassembled blades, utilizing them in various applications such as framing bio-swales and reinforcing flood walls, showcasing their hidden versatility. In Phase 3(fig 2.12), we pushed the structural boundaries of intact blades, focusing on harnessing their unique characteristics and capabilities. As our project progressed, it evolved into a dynamic hub of community engagement and environmental stewardship. From a vibrant market space to tranquil parklands adorned with repurposed blade fragments, each phase exemplifies our commitment to sustainability and innovation.
2.11 Second Phase 2.12 Third Phase
2.15 Market Space
Phase One of our project focuses on creating a striking beacon at the main entrance, drawing visitors with its impressive verticality. This entrance leads into a dynamic, flexible open space designed as a market area, doubling as an event venue when not in market use. Phase One prioritizes proximity to the turbines, allowing visitors an intimate encounter with their monumental blades. Utilizing the roof of the first phase’s controlled building, we created a unique vantage point where visitors can approach, touch, and fully appreciate these 400-foot giants. This interactive display integrates full and halved blades as architectural focal points, inviting visitors to engage directly with their awe-inspiring presence.
2.23
Phase 3 of our project pushes the structural limits of entire turbine blades, utilizing a sophisticated system where two L beams combine to form one large beam, creating a robust framework. The entryway is elevated to create a distinctive platform, setting it apart from the sidewalk. Inside, the building spans two levels with varying floor heights on the ground floor, featuring cable-tensioned glass facades that enhance transparency and aesthetics. A central tunnel accommodates an active rail line, preserving site functionality. This phase serves as an incubation space for startups on the ground floor, while the second floor houses a visitor center dedicated to turbine blade education, offering a formalized learning environment.
Deliang Chen
Visualization of Change
Design Studio
Instructor: IL Kim
Year: Spring 23’
Location: Null
Description
This was a five-week project centered on the novel “The Metamorphosis” by Franz Kafka. The project involved designing an apartment for the main protagonist after the events of the story. In the story, the protagonist undergoes a transformation into an insect and is subsequently rejected and mistreated by his family. Our project explores what may have happened to the protagonist after the events of the story, based on our own interpretation. In my version of the after-story, the protagonist comes to terms with his transformation into an insect. This acceptance allows him to transform back into his human form, but with a twist he retains the ability to transform into an insect. The primary concept behind the project is to showcase the protagonist’s journey as he transitions between these two states of being. Overall, the project seeks to explore the psychological and emotional toll of the protagonist’s transformation and his journey towards acceptance and self-discovery. Through the design of the apartment and the visual depiction of the protagonist’s transformation, we aim to create a narrative that captures the essence of Kafka’s original work.
Breaking from the shackles of the soul, Emerging from where shadows cast their spell, The weight of past regret begins to fold, As light within the heart starts to swell
Order within the mind is achieved, Through stormy clouds, a calm clarity finds, A harmony in chaos is conceived, Unbinding the once scattered, troubled minds.
Unveiling the path to freedom of forms, Where possibilities stretch far and wide, Boundaries dissolve as the spirit warms, To realms where only endless dreams reside.
No longer held by fear’s relentless grip, The essence soars on winds of pure delight, Transcending limits, we embrace the trip, Awake to realms of joy and boundless light.
Acceptance is the key that sets us free, Unlocking paths to love and dreams untold, In this new dawn, where light and life agree, The spirit basks in freedom’s gentle hold.
Breaking from the shackles of the soul, We rise above the shadows and the night, In newfound grace, our essence becomes whole, Illumined by the truth’s eternal light.
The project began with the creation of a short poem titled “Acceptance,” which explores how the protagonist’s soul was once shackled but eventually breaks free. This newfound freedom enables him to free his mind and eventually shed his insect form. Following the poem, a collage was made to showcase the organizational strategies that were employed in the design. The collage displays a progression up through the space, representing the protagonist’s soul being liberated from the constraints that were placed upon him. As one moves further up the space, it becomes less cluttered and more open, conveying a sense of freedom. The materials selected for the collage add to the chaotic nature of the design, symbolizing the extra layer of complexity that always exists. Overall, the project seeks to convey the journey of the protagonist as he frees himself from the confines of his insect form and achieves a sense of inner peace and acceptance.
3.9 Sectional Perspective Looking North
3.10 Sectional Perspective Looking South
Advanced Architectural Design Studio
Instructor: Philip Rham, Mariami Maghlakelideze
Year: Fall 23’
Location: Columbia University Campus, New York
Description
The main focus of the project was to create a micro climate within a space that would prove cold enough for plants that would typically need a colder climate to survive. The cooling had to be done passively without the intervention of air condition as we are trying to combat global warming instead of aiding it. The project utilizes the rain water that would be wasted and recycles it through the building to cool down the atmosphere within the structure.
IMPERVIOUS SURFACE
PRECIPITATION
SURFACE RUNOFF
EVAPORATION
PHOTOSYNTHESIS
The hydrologic cycle, essential for Earth's water circulation, encompasses key processes: evaporation, transpiration, condensation, precipitation, and runoff. Evaporation shifts water from liquid to gas, fueled by various energy sources like the sun. Transpiration, predominantly driven by humidity and soil moisture, involves plants releasing water vapor through the stomata. Condensation transforms water vapor into liquid, seen as clouds or dew, crucial for weather patterns. Precipitation occurs when condensed particles coalesce and fall to Earth as rain, hail, snow, or sleet, replenishing freshwater resources. Runoff, arising from saturated ground unable to absorb excess precipitation, forms rivers and lakes, ultimately cycling water back through evaporation and percolation into plants.
Water absorption in plants involves root hairs increasing surface area for absorption. Osmosis drives water from soil (low solute) to roots (high solute). It moves via symplastic (cell to cell) or apoplastic (cell wall) pathways. The Casparian strip in the endodermis filters and guides water. Xylem vessels carry water upwards using cohesion, adhesion, and transpiration pull. Water reaches leaves for photosynthesis and excess water is released through transpiration.
Deliang Chen
The roof of the structure is on grade with the original ground leaving this space in tact to be used by students.
The ramp is the main way of entry into the structure. It allows complete ADA access to every level within the building itself. The ramp structure allows for students to slowly descend into the space to act as a buffer if the temperature outside far exceeds the temperature on the inside.
The walls are made from material extracted from the site itself. This allows for the soil to be re-purposed instead of disposed someplace off-site cutting down on the carbon footprint of the building itself.
The ground is not finished instead loose soil is left on top to allow for plants to be planted without restriction. Allowing for flexible arrangement of the plants.
The roof is sloped in such a way that a majority of the rainwater flows toward the right side of the structure. Where a large canal is located guiding the water into the structure.
There is a pond located on the top to allow for a break in the water before it overflows into the structure as to prevent against flooding.
There are two water intakes within the structure one at the north end and south. The north will be the dominant intake for the structure to allow for the full circulation of the water down all three tiers. While the south intake will be utilized during heavy rainfall.
Inside the structure there are three water pools. Each pool is capable of closing the outtake to the next pool. This allows control over the water level within the pools. Allowing precise control during seasons where there is not much rainfall.
Deliang Chen
3/4” TRIPLE GLAZED WALK-ON GLASS
STEEL FRAME
PHOTOVOLTAIC GLASS
FLASHING
SECURING SCREW
THERMAL INSULATION
METAL PANEL
PRE-BUILT CONCRETE WALL
4.14 SKYLIGHT DETAIL
U-VALUE OF ASSEMBLY = 0.140 W/(m2K)
GROWING SUBSTRATE
FILTERING LAYER
DRAINAGE LAYER
WATERPROOF LAYER
THERMAL INSULATION
VAPOR SCREEN
STABILIZED RAMMED EARTH
4.15 ROOF DETAIL
U-VALUE OF ASSEMBLY = 0.149 W/(m2K)
METAL PLATE
STEEL CONNECTOR
STEEL ANCHOR BOLTS
STABILIZED RAMMED EARTH
CONCRETE FOOTING
4.16 WALL DETAIL
Deliang Chen
Cultural Pathfinding Through An Object
Elective Subject Object
Instructor: Suchi Reddy
Year: Spring 24’
Location: Null
Description
This project was a collaborative effort conducted in pairs as part of a visual elective. The goal was to select two objects and use them to explore a particular subject. Our focus was on the internal process individuals experience when navigating multiple cultural identities during their upbringing. We aimed to visualize this complex process through an object. For our project, we chose coffee and tea. These objects were selected because each can be traced back to distinct cultural traditions. Our intention was not to directly compare these cultures but to use coffee and tea as analogies to represent the coexistence of different cultural identities within an individual.
When we began constructing the model, we aimed to depict a clear start and finish. One end of the model is almost empty, allowing a view of the complex layers within the object. In contrast, the other end is a dense mass composed of wooden beads and fragments of shattered coffee mugs and teacups. We initially envisioned the empty end as representing the start of a journey—a blank slate waiting to be filled, yet already layered by influences from one’s environment. The dense, colorful mass at the other end symbolizes a person who has journeyed through the process of self-discovery and cultural integration. However, as we developed the model, we realized that the perspective could be reversed. Depending on how one views it, both ends can signify either the beginning or the culmination of a person’s journey. This duality reflects the fluid nature of personal growth and cultural identity.
The final object presents a different appearance depending on which face you observe, much like how encountering new obstacles prompts one to seek fresh perspectives for finding solutions. The first face(fig.5.12), uniquely square-shaped, features a turbulent texture symbolizing the challenging and unclear nature of this process. Amidst the turbulence, various shades and glimpses of pathways emerge, represented by silhouettes and colors that penetrate the surface. This face initiates the internal conflict, offering glimpses of potential paths without a distinct start or end. The second face(fig 5.11) appears chipped away, offering a clearer view into the model and revealing new pathways previously unseen. Similarly, the other two face(fig 5.10, 5.13) each provide varying levels of clarity, either revealing new perspectives or proposing entirely different approaches. This illustrates that paths forward aren’t always straightforward—some shown may be incorrect, while others may lead to solutions. An external element introduced into this internal process is the presence of light. This external illumination symbolizes the occasional need for external guidance when one is truly stuck and directions-less, highlighting how external insights can illuminate new paths forward.
